It's funny, when you read that from others, isn't it?
I will only add to those anecdotes the one where the name of a DCP was <title>_dcp, made by Premiere, and the title had the character „í“ (mark the acute accent on top).
It wreaked havoc in a Cat.765 and I couldn't figure out why the hell was it that the IMB wouldn't connect unless I would reboot both the server and the projector. Then, I noticed the irregular character that the maker used!
That Eddie (Edward A.) Murphy law fully applied.
Like Carsten wrote, festivals often have their own solutions or portals. Commercial distributors (big or small) has their own channels for receiving and distributing DCP's. Post-production houses use other (very reliable) transfer services to get wip or press-screeners directly into theatres.
Left are independent screenings, self distributors and micro festivals. Not saying DCPshare is a bad initiative, but I think they really need to get the majority of festivals on-board to get some kind of traction going.
